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Upon exiting Sheila Hicks' retrospective at the ICA, you're bound to feel a deep respect for her half-century of "thinking it through with the fingers." This response is not just an appreciation of the achievements of a major artist; it is a reminder that Hicks — and perhaps all art — begins with simple, palpable delight in the profoundly quotidian specificity of things.
Material things are commonly dismissed as superficial in contrast to spiritual insights or values. The truth is exactly otherwise. Exploring the physicality of things, we brush against universal, intricate mysteries. This is not Hicks' stated purpose or subject matter, but it is difficult to ignore as a wellspring of her work.
Hicks exploits the fiber essence of almost anything: newspapers, drinking straws, metal filaments, feathers, rubber bands. From micro to macro in scale, "50 Years" includes small, medium and large weavings and wrappings. The smallest, she calls minimes. There are 62 minimes from every phase of her career, each scarcely larger than those goofy loop pot holders we made as kids. They are fascinating in the way they show Hicks' mind at work: She locks on to an idea — say, weaving on the diagonal as opposed to a traditional grid — and explores it in a sequence of variations.
Source: Philadelphia Citypaper